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The motivation of form: The poetics ...

Moshaver, Maryam.

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The motivation of form: The poetics of music theory and the writings of Moritz Hauptmann.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The motivation of form: The poetics of music theory and the writings of Moritz Hauptmann./
作者:	Moshaver, Maryam.
面頁冊數:	378 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3751.
Contained By:	Dissertation Abstracts International67-10A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3237298
ISBN:	9780542916878

The motivation of form: The poetics of music theory and the writings of Moritz Hauptmann.
Moshaver, Maryam.

The motivation of form: The poetics of music theory and the writings of Moritz Hauptmann. - 378 p.

Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3751.

Thesis (Ph.D.)--Columbia University, 2006.

With the growing ascendancy of the life sciences in the 18th and early 19th centuries, and the shift of interest from a mechanical to a dynamic model of generation, the image of the unfolding germ and the autogenesis of living organisms became the paradigm for addressing a new methodological challenge: that of developing a theoretical schema in which, not the mechanics of motion of inert matter, but rather, processes of change and transformation could constitute both the substance and the form of objective knowledge.

ISBN: 9780542916878Subjects--Topical Terms:

516178
Music.

The motivation of form: The poetics of music theory and the writings of Moritz Hauptmann.
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245 1 4 $a The motivation of form: The poetics of music theory and the writings of Moritz Hauptmann.
300 $a 378 p.
500 $a Source: Dissertation Abstracts International, Volume: 67-10, Section: A, page: 3751.
500 $a Adviser: Ian Bent.
502 $a Thesis (Ph.D.)--Columbia University, 2006.
520 $a With the growing ascendancy of the life sciences in the 18th and early 19th centuries, and the shift of interest from a mechanical to a dynamic model of generation, the image of the unfolding germ and the autogenesis of living organisms became the paradigm for addressing a new methodological challenge: that of developing a theoretical schema in which, not the mechanics of motion of inert matter, but rather, processes of change and transformation could constitute both the substance and the form of objective knowledge.
520 $a The present study examines the representation of the category of change in the music-theoretical writings of Moritz Hauptmann, whose principal work, Die Natur der Harmonik und der Metrik, can be characterized as developing an account of the tonal-harmonic medium, not as a means for describing external musical events, but as the process of its own self-formation and transformation. The significance of Hauptmann's work, besides its expression in the field of music theory, of a scientific methodology modeled closely on the dialectical representation of structure as process in Hegel's Naturphilosophie , is the focus it brings to the problem of stasis and motion in music-theoretical representation in general, where the abstract fixity of chord nomenclature easily overwhelms the temporality and flux of the ephemeral structures of the medium it describes. The theoretical space charted in Hauptmann's reconfiguration of harmony and meter in the rhythm of dialectical form is explored in the context of the philosophical discourses and the forms of scientific expression in the 18th and 19th centuries, and in comparison to the theoretical constructs of Jean-Philippe Rameau and Gottfried Weber.
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